Abstract:

The "1914 Generation", which has continued its existence in the transition between the latter and the early years of the Republic and is also named "Cally Generation" or "Turkish Impressors" in the Turkish painting art, is the artistic community sent to the Academie des Beaux Arts in Paris after the painting training in the Industrial Nefise Mektebi Alisi, but with the beginning of the First World War, they have to return to the country by leaving these training in the middle. Because of this date of return, which was equal to 1914, they received the name "1914 Generation Painters" in the Turkish painting art. The names of Ibrahim Çallı, Namık Ismail, Nazmi Ziya Güran, H. Avni Lifij, Feyhaman Duran, Mehmet Ruhi Arel, Sami Yetik and Ali Sami Boyar are the groups. These artists, who have achieved an academic drawing qualification as a result of their painting training in Paris, have tended to be influenced by the perception of the Impressive painting they met in those years as well as the pattern strength in their paintings as well as the colorful attitude of the Impressive. These trends, along with their returns to the country, have found the body with a unique form in the paintings like the sights, portraits, deaths. They have chosen Istanbul and its surroundings as a place in the paintings of the kind of landscape they perform in the open air. The small-size oil paintings they performed in the open air at a single time, then the detailed work they performed with the streets, houses, historic structures, beaches and throat views of Istanbul in every hour of the day, in any way, the "1914 Generation" artists have been the top topics. The Istanbul theme, which is the subject of the painting of many artists from the past to the present and continues to be, in the context of the viewpoints and comments of the "1914 Generation" artists, has been depicted in plastic language and in a documentary nature has been inherited to the present day as artistic productions.

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